“黄色歌曲”是特定历史条件下的产物。20世纪50年代末“黄色歌曲”的再次兴起有着深刻社会政治文化原因,“双百方针”的提出,以广播为主要媒介的推波助澜,自身形成特点以及反映现实生活和内心情感的抒情歌曲创作匮乏,使“黄色歌曲”再度流传开来。随着反右运动的开展,“黄色歌曲”被作为阶级斗争对象遭到批判。置于特定历史背景下,这种批判具有一定合理性,就其主要原因是抒情歌曲创作未能满足大众需求,进而引发乐界展开关于歌曲创作抒情问题的讨论。这一时期政治抒情成为歌曲创作整体取向,个人抒情处于边缘位置。如何正确认识处理好两者关系不仅是50年代面对的一个难题,也是当下歌曲创作亟待研究解决的一个重要课题。 “Yellow Song ” is the product of a specific historical condition. The re-emergence of the “Yellow Song” in the late 1950s has profound socio-political and cultural reasons. The “double hundred policy” has been put forward. It uses radio as its main medium to promote its own characteristics, as well as reflect the real life and inner feelings Lack of lyric song creation, so that “yellow song ” spread again. With the anti-rightist movement carried out, “yellow song ” was criticized as a target of class struggle. Under certain historical background, this criticism has some rationality. The main reason is that the creation of lyric songs fails to meet the needs of the general public, which in turn leads the music industry to start a discussion on the lyricism of song creation. During this period, political lyricism became the overall orientation of song creation, and personal lyricism was at the marginal position. How to correctly understand and handle the relationship between the two is not only a difficult problem confronted in the 1950s, but also an important issue to be solved urgently for contemporary songwriting.